WAX AND OIL PAINTING
sla...@arrakis.es
I´m an abstract artist, and I have just started experimenting with wax
on canvas, mixing pigments and also painting over with oils. I cannot
get the right results with the wax. As it cools it all cracks up. I am
applying it in thin layers with a brush, using beeswax mainly. I know
it can be done on canvas, since I have seen other artists work. Anyone
able to offer advice?
thanks, DAVID - Madrid, Spain (sla...@arrakis.es)
sla...@arrakis.es
Marliyn
sla...@arrakis.es wrote:
> =
> I=B4m an abstract artist, and I have just started experimenting with wax
> on canvas, mixing pigments and also painting over with oils. I cannot
> get the right results with the wax. As it cools it all cracks up. I am
> applying it in thin layers with a brush, using beeswax mainly. I know
> it can be done on canvas, since I have seen other artists work. Anyone
> able to offer advice?
> =
> thanks, DAVID - Madrid, Spain (sla...@arrakis.es)
It is usually called encaustic and the wax can preserve the painting
for 1000's of years if done right. One artist I know, has had a =
special oven made for her. The heat in the oven is very low, and she
places the waxed painting in the oven for enough time to allow the
wax to melt and spread itself to a smooth coat. She works in 2 foot
squares and then puts the squares together. That's all I know but I
am planning to experiment and research encaustic methods.
Charles Eicher
In article <331507...@islandnet.com>, Marliyn <anti...@islandnet.com>
wrote:
> sla...@arrakis.es wrote:
> >
> > I´m an abstract artist, and I have just started experimenting with wax
> > on canvas, mixing pigments and also painting over with oils. I cannot
> > get the right results with the wax. As it cools it all cracks up. I am
> > applying it in thin layers with a brush, using beeswax mainly. I know
> > it can be done on canvas, since I have seen other artists work. Anyone
> > able to offer advice?
> >
> > thanks, DAVID - Madrid, Spain (sla...@arrakis.es)
>
> It is usually called encaustic and the wax can preserve the painting
> for 1000's of years if done right.
Well, there are problems too. For example, I talked to Brice Marden, he was
complaining that he always gets calls to repair his encaustic paintings
that are damaged by cracking. His encaustic paintings are well-made, but
they are very brittle and can easily be damaged when transported.
> ..One artist I know, has had a
> special oven made for her. The heat in the oven is very low, and she
> places the waxed painting in the oven for enough time to allow the
> wax to melt and spread itself to a smooth coat. She works in 2 foot
> squares and then puts the squares together. That's all I know but I
> am planning to experiment and research encaustic methods.
Well, that's the classical encaustic technique, but mixed medium with
encaustic can lead to problems. I know there's a 'wax medium' thats sold in
art stores, its somewhere about halfway between pure encaustic and pure oil
painting. I have one friend who swears by it, she says it doesn't need any
heating to soften or fix. Its more workable than pure encaustic.. well,
that means, you can 'work' the paint more than with pure encaustic.
| Charles Eicher |
| -=- |
| cei...@inav.net |
Marliyn
Charles Eicher wrote:
> =
> In article <331507...@islandnet.com>, Marliyn <anti...@islandnet.co=
m>
> wrote:
> =
> > sla...@arrakis.es wrote:
> > >
> > > I=B4m an abstract artist, and I have just started experimenting with =
wax
=
> > It is usually called encaustic and the wax can preserve the painting
> > for 1000's of years if done right.
> =
> Well, there are problems too. For example, I talked to Brice Marden, he w=
as
> complaining that he always gets calls to repair his encaustic paintings
> that are damaged by cracking. His encaustic paintings are well-made, but
> they are very brittle and can easily be damaged when transported.
> =
> > ..One artist I know, has had a
> > special oven made for her. The heat in the oven is very low, and she
> > places the waxed painting in the oven for enough time to allow the
> > wax to melt and spread itself to a smooth coat. She works in 2 foot
> > squares and then puts the squares together. That's all I know but I
> > am planning to experiment and research encaustic methods.
> =
> Well, that's the classical encaustic technique, but mixed medium with
> encaustic can lead to problems. I know there's a 'wax medium' thats sold =
in
> art stores, its somewhere about halfway between pure encaustic and pure o=
il
> painting. I have one friend who swears by it, she says it doesn't need an=
y
> heating to soften or fix. Its more workable than pure encaustic.. well,
> that means, you can 'work' the paint more than with pure encaustic.
> =
> | Charles Eicher |
> | -=3D- |
> | cei...@inav.net |
Thanks for that information, Charles.
I was thinking of the Coptic images and how well they are preserved.
There is one at the Seattle Museum. Wonder how they did it. =
As you suggest, the wax was not mixed in but used over the paint.
Then there are the atmospheric changes of our century.
Very interesting. I would rather discuss beeswax than gilding.
Marilyn
Andrew Werby
sla...@arrakis.es wrote:
>I´m an abstract artist, and I have just started experimenting with wax
>on canvas, mixing pigments and also painting over with oils. I cannot
>get the right results with the wax. As it cools it all cracks up. I am
>applying it in thin layers with a brush, using beeswax mainly. I know
>it can be done on canvas, since I have seen other artists work. Anyone
>able to offer advice?
>
>thanks, DAVID - Madrid, Spain (sla...@arrakis.es)
[I imagine a more rigid surface than canvas would work better. If canvas
is essential, try gluing it to a board first. Also, I don't think it is
compatible with oils; this might be part of your problem. A source of
information on this (encaustic) process is the Sinopia Pigments and
materials page; go to < http://www.sfo.com/~sinopia/encaustic.html >for
a brief introduction.]
Bien Suerte-
Andrew Werby - United Artworks
Marliyn
Andrew Werby wrote:
> =
> sla...@arrakis.es wrote:
> >I=B4m an abstract artist, and I have just started experimenting with wax=
> >on canvas, mixing pigments and also painting over with oils. I cannot
> >get the right results with the wax. As it cools it all cracks up. I am=
> >applying it in thin layers with a brush, using beeswax mainly. I know
> >it can be done on canvas, since I have seen other artists work. Anyone
> >able to offer advice?
> >
> >thanks, DAVID - Madrid, Spain (sla...@arrakis.es)
> =
> [I imagine a more rigid surface than canvas would work better. If canvas
> is essential, try gluing it to a board first. Also, I don't think it is
> compatible with oils; this might be part of your problem. A source of
> information on this (encaustic) process is the Sinopia Pigments and
> materials page; go to < http://www.sfo.com/~sinopia/encaustic.html >for
> a brief introduction.]
> =
> Bien Suerte-
> =
> Andrew Werby - United Artworks
> =
> http://users.lanminds.com/~drewid
Thanks for the encaustic information. =
How careful do we have to be about the quality of turpentine?
Must we buy it in art supply stores or is the turpentine in =
hardware stores okay? I usually use the latter for cleaning =
brushes.
Mariliyn
Will Call
In article <ceicher-ya0230800...@news.inav.net>, cei...@inav.net says...
> I know there's a 'wax medium' thats sold in
>art stores, its somewhere about halfway between pure encaustic and pure oil
>painting. I have one friend who swears by it
You are probably referring to DORLAND's Wax Medium
available in gallons from most full-service art supply firms.
It is entirely possible to make your own cold encaustic
from beeswax and turps and by experimenting with other
medium additives (damar, for example) come up with some
very useful cold encaustics that will have great durability.
Most of the ancient encaustic paintings still in existence
are existing because they were painted on wooden supports,
not on cloth. W.C.
Will Call
In article <331059...@arrakis.es>, sla...@arrakis.es says...
>I´m an abstract artist, and I have just started experimenting with wax
>on canvas, mixing pigments and also painting over with oils.
If you haven't already done so, you should read all of the stuff
on encaustic painting and mediums contained in Ralph Meyer's
ARTIST's HANDBOOK -- the bible for painters of all ages. W.C.
Will Call
In article <331672...@islandnet.com>, anti...@islandnet.com says...
>How careful do we have to be about the quality of turpentine?
>Must we buy it in art supply stores or is the turpentine in =
>hardware stores okay? I usually use the latter for cleaning =
I personally don't think it matters unless you are using the
very finest oil colors and doing a quality of painting that
implies you want it to be archival -- be around for longer than
you are. If you are using student-grade or the cheapest
oils you can buy then don't waste money on artist grade
turps and thinners and linseed oil. And the quality of the
linseed oil is more important than the quality of the turps.
Use only artist grade (refined) linseed oil. But the turps are
thinners -- you can substitute mineral spirits and other
thinners for turpentine if you have a sensitivity to turps.
Turpentine is essential for melting the damar crystals
if you make your own varnish. Mineral spirits won't work.
I generally use the artists grade of everything for mixing WITH
mediums that will be mixed with my oil paints.
I trust that the marketer is truthful and is selling me a more highly
refined grade than the stuff sold in hardware stores. But that
may NOT be the case. You can tell to some extent by pouring
the turps into different clear glass vials and comparing the
color. Hardware store grades will usually look yellower than
the artists grade. The best artist grade should be virtually water
white. W.C.
Marliyn
Will Call wrote:
Re: turpentine in art supply stores vs turps in hardward stores.
> I personally don't think it matters unless you are using the
> very finest oil colors and doing a quality of painting that
> implies you want it to be archival -- be around for longer than
> you are. If you are using student-grade or the cheapest
> oils you can buy then don't waste money on artist grade
> turps and thinners and linseed oil. And the quality of the
> linseed oil is more important than the quality of the turps.
> Use only artist grade (refined) linseed oil. But the turps are
> thinners -- you can substitute mineral spirits and other
> thinners for turpentine if you have a sensitivity to turps.
> Turpentine is essential for melting the damar crystals
> if you make your own varnish. Mineral spirits won't work.
>
> I generally use the artists grade of everything for mixing WITH
> mediums that will be mixed with my oil paints.
> I trust that the marketer is truthful and is selling me a more highly
> refined grade than the stuff sold in hardware stores. But that
> may NOT be the case. You can tell to some extent by pouring
> the turps into different clear glass vials and comparing the
> color. Hardware store grades will usually look yellower than
> the artists grade. The best artist grade should be virtually water
> white. W.C.
Thanks Will Call for that information.
It makes me think that this newsgroup is worthwhile, inspite of the
Mani's, and the marketing.
Since I do use the finest artists' oils I will stick to the fine
turpentine. I have a formula 1-1-1 turp/oil/damar as a medium and it
seems to work well. It is a good idea to have a painting survive one's
lifetime at least, for obvious reasons.
I also use acrylic "gesso" over a sizing of acrylic on my supports.
Do we know the longevity of this?
Marilyn
andrew harmantas
> Re: turpentine in art supply stores vs turps in hardward stores.
> > the turps into different clear glass vials and comparing the
> > color. Hardware store grades will usually look yellower than
> > the artists grade. The best artist grade should be virtually water
> > white. W.C.
Besides color, the best grade of real gum spirits of turpentine will
have a relatively pleaseant smell, not the obnoxious stink that comes
from the cheaper steam distilled pine stumps that we get in most
stores. And when you get the good stuff, keep it out of the light so it
doesn't turn brown.
I read Paul Strisik's book about landscape painting in oil, and he uses
Number 1 grade kerosene for *cleaning* his brushes. I do the same,
taking great care to see that no residual kerosene stays on the brush
and gets onto my pallette or painting, because it will really retard
drying or worse, do damage to the drying process. Advantages are that
the kerosene has a very low odor, a very low evaporation rate, if at
all, and does not seem to rob the brush of its essential interal oils
that turps and other cleaners do. The residue from the brush settles in
the bottom of the kerosene jar. Periodically, I decant out the clear
kerosene on top, discard the dissolved paint glop on the bottom, refill
the jar, and get going again.
In my studio, I keep any turps well covered, using it only in medium and
as a thinner for damar varnish.
It works for me. Good luck, Andrew Harmantas, Artist, Illustrator,
World Traveler, Lecturer, and Bum.
Marliyn
Thank you for the above information. What do you think of using
acrylic "gesso" and medium as a ground for oil paints?
MW
Charles Eicher
> andrew harmantas wrote:
> > I read Paul Strisik's book about landscape painting in oil, and he uses
> > Number 1 grade kerosene for *cleaning* his brushes. I do the same,
> > taking great care to see that no residual kerosene stays on the brush
> > and gets onto my pallette or painting, because it will really retard
> > drying or worse, do damage to the drying process.
Eewww.. That is kind of the point of using turpentine in the oil painting
medium, so its compatible with what you're using to wash your brushes.
> > ..Advantages are that
> > the kerosene has a very low odor, a very low evaporation rate, if at
> > all, and does not seem to rob the brush of its essential interal oils
> > that turps and other cleaners do.
You could say the same thing about rinsing your brushes in molten paraffin,
or what that guy was saying about washing them with vegetable oil.
The big problem with oils and kerosene is that they are long-chain
hydrocarbons, and tend to polymerize more easily than short-chain
hydrocarbons like turpentine. Turps tends to evaporate from the brushes
into the air, so no residue is left. But if there's any residue left on a
brush (like oil or kerosene) it gets tacky, eventually turns brown and
hardens. That's the price you pay for low volatility (low evaporation
rate). I wouldn't make that tradeoff, if it was me.
Anyway, if you want to replenish the oils in your brushes, you can just
give them a final wash in a non-detergent soap (like Ivory soap) or use one
of the ridiculously expensive Artists' brush soap. One person suggested
"Goop" or "GoJo" which are non-soap non-abrasive hand cleaners designed to
clean oil and gasoline off your hands, you can buy these cleaners at an
auto-parts shop.
> > ...The residue from the brush settles in
> > the bottom of the kerosene jar. Periodically, I decant out the clear
> > kerosene on top, discard the dissolved paint glop on the bottom, refill
> > the jar, and get going again.
definitely agree with you there. Use a good grade of solvents (whatever
your choice) let it settle, and decant it often. Save the environment,
don't dump it down the sink, it goes into the water at some point.
| Charles Eicher |
| -=- |
| cei...@inav.net |
R/L Davis
Marliyn wrote:
> ...
>
> Thank you for the above information. What do you think of using
> acrylic "gesso" and medium as a ground for oil paints?
I recently asked the folks at the Canadian Conservation Institute that
question and they said that oil over oil ground, and acrylic over acrylic
ground are accepted practice. Oil over acrylic is not recomended. On
the other hand, in the newest edition of "The Artists Handbook..." ('91 I
believe), they say that there is no sigh yet of any problem with oil
paints applied to acrylic gesso (after, now, about 50 years), but they
too do not recommend oil over acrylic. The verdict seems to be still out
on the subject, but if you are concerned with the longevity of your work
it is not worth the risk.
Richard
Will Call
In article <331753...@emh10.monroe.army.mil>, harm...@emh10.monroe.army.mil says...
>I read Paul Strisik's book about landscape painting in oil, and he uses
>Number 1 grade kerosene for *cleaning* his brushes.
Not a bad idea since the kerosene is slightly oily. It is interesting
to compare artist's turpentine to the less refined stuff and to
compare water-white kerosene to diesel fuel or aviation jet fuel, both
of the latter of which are simply other forms of kerosene. No. 1
diesel fuel, not widely available, is as pure as refined kerosene.
No. 2 diesel is the stuff regularly burned in those black smoke
belching behemoths of the highways. Jet-A fuel is highly
refined but contains anti-icing additives that may or may not
add to the longevity of brushes. All of these have fairly low flash
points and are safer than some of the other distillates used in
the studio, such as mineral spirits, alcohol, and acetone. W.C.
Will Call
>Anyway, if you want to replenish the oils in your brushes, you can just
>give them a final wash in a non-detergent soap (like Ivory soap) or use one
>of the ridiculously expensive Artists' brush soap.
Lanolin is a natural oil that should be suitable for restoring brushes,
although I've never tried it. Ralph Mayer still claims the only proper
care for brushes is cleaning in a suitable solvent and washing with
a mild soap and allowing to dry, and storing in a closed box or drawer
as opposed to leaving out in open for moths to get at -- not a problem
with synthetic bristles -- but a very real problem with finest sables.
I have long used mineral oil and glycerin as a lubricants that seem to
not interfere with the sable's watercolor utility. I use it to help keep
the bristles shaped in between use -- keeps them from "flagging" W.C.
Tim Long
Mix oil with the wax. Also try a resin - copal?
Macy
> Mix oil with the wax. Also try a resin - copal?
Where can I find Beeswax and Carnuba wax used for encaustics? Who else
uses these waxes?
Andrew Werby
[Beeswax is the traditional choice for encaustic, carnuba sounds more
experimental. The carnuba wax, while harder, makes the wax layer
extremely brittle, and more likely to shatter off its support,
especially if this support is at all flexible.
Candlemakers also use beeswax, try
http://www.execpc.com/~mfrend/supply.html for an online candle supply
house.]
Andrew Werby - United Artworks